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    5 views7 pages

    00-85 The Architecture of Silence AR Oct 85 PDF

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    dvgfgfdh

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    © All Rights Reserved
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    Jomes Dunnett Le Corbusier's ideas about the nature of the dwelling and its relationship fo the city rang from his belief that mankind’s highest ‘was intellectual ity, ‘meditation’. Using sources rarely topped by Corbusier scholars, James Dunnett explains this little-known key to Corbusier's thinking and shows how it relates both to his theory of machine production and to the revolutionary innovations of Cubism. 1, “To dling igh obove th ground it otivala lea othe sy Sat ninco od to or through! the yearns A dian! Seca, Prom below push he groon (Ties ofthe tangle 0 reo. The town Corbusier from 0 of Mon’ (Sidon Arhtecural Pras 194 2.'Sem, moc, vordurs sven joys Theough te four mason ond he rayne on Gan lo ‘dealings rn throught own, What ‘SSer i mater? Thoy oe behind the Scroon f ras Bam The Home of THE ARCHITECTURE OF f¢ now ready to introduce into the {architectural ‘silence’ of our home the work of art that inspires thought or meditation.” Le Corbusier: Précisions" ‘The Radiant City was conceived by Le Corbusier not simply, as is sometimes supposed, to provide oadspace for the motor car, to ensure optimal insolation, or to facilitate mass-production in the construction industry. It was to be @ setting for @ Particular ideal of intellectual life, the model for ‘which was, above all, that of Cubism—which for Le Corbusier was extenfilly 0 meditative ar. In this sonse the Radiant City was designed for ‘meditation’, Le Corbusier underlined the ceniraliy of this consideration to his theory of urbon form, @ follows: "Many years ogo. fwrew ino the confused discusfon of styles, Toshions, snobberies, this argument which was a “knock ou?” house sa machine for living in’. A thowsand staves have been produced to boot me with for having dared thot uteronce. But when | 307 “Tiving’’ 1m not tolking of mere material requirements nly. | admit certain important xiensions which must crown the edie of mon’s Golly needs, To be able to hing, or medic, ote the day's work is esxenticl. But in order to become {2 conire of creative thought, the home must take o Gn enlrely new characte. And that necessitates fo ite reallscton a change in the entre layout ofthe Giy, a new crrongemen! of transport, @ new ond daring concept of space relationships, @ new method of construction for human habitation For le Corser, the idol of mediation noo extended the mearing of the mechanical anclogy, ut wes iniinsie to his understanding off and of modern architecture 2 8 a whol ion of the ‘onclogy foal from the purely, ‘mechanistic enthusiasms of such groups os the Futurists of, later, the Metaboli. The cy ond home or place of meditation was ony the most Comprehensive expression of on idea thot permeated his approach to design ot every level In deserbing the house as a ‘machine for living ‘wat clonfying Wt occording to ‘THE ARCHITECTURE OF 4, the Redon Gy, 1938. Zoning tom ‘hetop downward the busias cea, Aenked by goveroment and research Ding the ral cea, ose and eboney, howing on ether side of scl nd aStoal ve rian warehove, heary ini 1 oRecsed aparmen! bang the Resign iy, parks ond school in the middie Cebus anginal ‘apion fom ‘The Roan Cy principle of differentiation which was central to his thought and to his sonse of form, This principle was embodied in such ontitheses “The implement, or tool: the work of art ‘work: leisure nod: nurs, typical: o-typical biomarphic: geometric The division opposed the lly servant! functions of life and the ‘free’ functions. Highest of all ‘free! functions was intellectual creativity, oF meditation—the creation of the work of art This, for Le Corbusier, was the greatest source of human in ‘means for man’s expression of his individual being, The ‘serva all tho ‘enjoy the ‘fe This division wos extended tothe field of alas by recognising two divine colgoris: the arf, eth woof or ng sao crtetac, ie the implement or tool (uti). Though the former need ms tcaton twat ar [sified only by ts service fo the processes 0 and hence 1 he enjoyment, ulimetey, of the ii former. The artelact which most compl ¥ Bodied the ‘servon” union wa the machine; ptomised the tol in is mt highly devlopes Enologcal sae, For Le.Corbusir ths closiction wos profoundly importon, being the key to Ns Poifcoton ofthe Mackie Age sel enabled him to regord the machine on liberator ond to si in organ af he and raf ition of ths dvsion i ory consummation of modern srchitecural thought: ‘Toe up the fil strand: 0 Erealdhrough in our contcovsnen, 0 closiicaton, and the natural exprenion wil emerge of normative perception of our existence which oe sal practical Tvng, ideal side, of the ions ofthis division can be illuminated 3g Le Corbusier’s attiudes with those of the Arts ond Crafis movement jected the machine age, os expressed by Willom Morris, “Tha tre secret of happiness, Moris hod ‘writin, lies in taking © genuine intrest in all the details of deily life, in elevating them by 39 the, performance of th nvegorded drudges.! The concomietion of view was that the everyday utensils of life should be elevated by art. This meant for Mo Feasons sil generally accepted in the that al artefacts should be made by hond (‘in all crafs where the production of beauty wos colled for, the most direct communication between a man’s hand and his brain would be soughr’}> A further

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